Saturday Evening, September 23, 2017, at 7:30

The Juilliard School presents Juilliard Edo de Waart , Conductor

JOHANNES BRAHMS (1833 –97) Concerto in D major for Violin and Orchestra, Op. 77 (1878) Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace—Poco più presto

Intermission

MICHAEL IPPOLITO (b. 1985) Nocturne (2011)

RICHARD STRAUSS (1864 –1949) Der Rosenkavalier Suite (1909 –10, rev. 1944)

Performance time: approximately 1 hour and 40 minutes, including one intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program not as a literal repetition but rather as a rhapsodizing memory of the melody. In the by James M. Keller finale, which proved the most immediately popular with early audiences, Sarasate Concerto in D major for Violin and would have found some of the crackling Orchestra, Op. 77 “Gypsy spirit” that was one of his particu - JOHANNES BRAHMS lar specialties. Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna, Austria Brahms did some of his best work during his summer vacations, which he usually Johannes Brahms was not a violinist him - spent at some bucolic getaway in the self, but as a pianist he had worked as an Austrian countryside. The summer of accompanist to violinists since the earliest 1878—the summer of the Violin Concerto— years of his career. One of his closest found him in Pörtschach, on the north friends was Joseph Joachim, whose pres - shore of the Wörthersee in the southern ence looms large in the saga of Brahms’ Austrian province of Carinthia. When he Violin Concerto. The composer consulted wrote his Second Symphony there the with him closely while writing the piece summer before, he had remarked that and there is no question that Joachim’s beautiful melodies so littered the land - input helped shape the final state of the scape that one merely had to scoop them violin part, as well as the work’s orchestra - up. Listeners today are likely to think that tion overall. Brahms also sought the advice he scooped up quite a few for his Violin of two other eminent violinists—Pablo de Concerto, too, but early listeners weren’t Sarasate and Émile Sauret—but found their so sure. Critics were at best cool and at input of far lesser consequence. Sarasate worst savage. When it was presented by famously refused to play the piece, object - the Berlin Conservatory Orchestra, one ing to the long solo that opens the newspaper complained that students second movement: “Do you think me so should not be subjected to such “trash,” devoid of taste that I would stand there in and Joseph Hellmesberger Sr., who as one front of the orchestra, violin in hand, but of Vienna’s leading violinists had much like a listener, while the oboe plays the Brahmsian experience, dismissed it as “a only melody in the entire work?” It is hard concerto not for, but against the violin” (or not to think that Joachim’s influence also maybe that bon mot came from conductor extended to introducing Brahms to Bruch’s Hans von Bülow). Brahms was a bit dis - celebrated First Violin Concerto, which so couraged by the response and, to the strikingly prefigures passages in Brahms’ regret of posterity, fed to the flames the concerto that many music lovers assume draft he had already completed for his that Bruch was copying Brahms. In fact, Violin Concerto No. 2. We can only mourn the influence flowed in the other direction. what must have been lost.

The first movement admittedly poses Nocturne conceptual challenges, being at once vir - MICHAEL IPPOLITO tu osic and largely lyrical, its materials Born January 28, 1985, in Tampa, Florida mounting up with a sense of serene grandeur. In the slow movement (to which Michael Ippolito serves as assistant pro - Sarasate protested), the violin’s music fessor of composition at Texas State grows organically out of the oboe’s theme, University. He is a product of Juilliard, where he studied composition with John Corigliano, The composer has provided this comment and of the Cincinnati College-Conservatory about Nocturne : of Music, where his teachers included Joel Hoffman and Michael Fiday. He was a My Nocturne was originally inspired by composer fellow at the Aspen Music Joan Miró’s 1940 painting of the same Festival and the Cultivate program at the name. I was first drawn to the pure visual Copland House in 2012. From 2004 to appeal of Miró’s fantastical figures and 2011 he was a participating composer and swirling lines, but I was also intrigued by performer in MusicX, a new-music festival the idea of a “nocturne” with so much in Cincinnati and Switzerland, where he energy and whimsy. As I thought about worked as general manager from 2008 the tension between the title and the through 2011. He has also participated in image, the other approaches to the noc - the Upbeat Hvar International Summer turne came to my mind—from the School in Croatia, the Yiddish Summer Whistler paintings and the dreamy world Weimar in Germany, and the Oregon Bach of Chopin and Field that inspired him, to Festival’s Composers Symposium. the colorful and diverse Debussy pieces, to the creaking and sliding “night music” His works have earned him the Charles of Bartók. In the end my piece is about Ives Scholarship from the American Academy the different connotations of the title as of Arts and Letters, the Palmer Dixon Prize much as it is about an imagined noctur - from Juilliard, and multiple awards from nal scene. ASCAP. His wind ensemble work West of the Sun was recognized with an honorable Nocturne is in three large sections. The mention in the 2014 Frederick Fennell Prize opening evokes a hazy world, with allu - competition, and his String Quartet No. 3, sions to familiar nocturnal imagery floating Songlines , was runner-up in the Apollo in and out of focus. The middle section is Chamber Players Commissioning Compe - a wild scherzo inspired by Miró’s bizarre tition. Commissions have come his way nocturne. At the end the music from the from organizations including the ensem - opening section returns, with a brief nod ble 20/21 in Cologne, the University of to Chopin before the music evaporates Georgia Wind Ensemble, and the New to nothing. York Choreographic Institute. Recent pro - jects include a string quartet for the Altius Der Rosenkavalier Suite Quartet (commissioned by Chamber Music RICHARD STRAUSS America) and a work for the Truman State Born June 11, 1864, in Munich, Germany University Wind Ensemble. His symphonic Died September 8, 1949, in Garmisch- compositions have been performed by the Partenkirchen, Germany Chicago Symphony, Milwaukee Symphony, Cabrillo Festival Orchestra, Albany Sym - The fifth of Richard Strauss’ operas, Der phony, and Juilliard Orchestra. Rosenkavalier instantly captured the hearts of opera-goers when it was unveiled in He originally composed Nocturne in 2010 1911. At the center of the plot, set in as a chamber piece for flute, violin, and mid- 18th-century Vienna, we find the . He completed the version for Marschallin, a princess who, in the absence orchestra the following year, and it was of her husband (a military man of some premiered in February 2012, with Jeffrey eminence), is having an affair with Octavian, Milarsky conducting the Juilliard Orchestra. an attractive young count. The Marschallin’s boorish cousin, Baron Ochs, hopes to young fel low—surely that is the ne plus ensnare Sophie, the lovely daughter of a ultra of simplicity.” nouveau riche gentleman with access to well-born circles. In an act of courtship, The premiere of Der Rosenkavalier was Octavian (disguised as a maid) is sent to one of the great events of operatic history. offer Sophie a silver rose on behalf of Many critics were hostile, but the audience Baron Ochs. But, when Octavian arrives to adored it, calling the performers back to present the rose, he and Sophie fall in love the stage for ten curtain calls after the sec - with each other. After various complica - ond act and 20 after the third. Strauss tions, the ardor of youth wins out. Ochs remained ever fond of it, partly on aes - withdraws his bid for Sophie, realizing how thetic grounds and partly because his roy - ridiculously he has been behaving, and, alty payments earned him a fortune. The with enormous dignity and insight, the music was pressed into all manner of use Marschallin accepts that young Octavian is through arrangements and transcriptions. better suited to love Sophie than a woman The first orchestral suite appeared in 1911, of her own advancing years. directly on the heels of the premiere, and quite a few others were released in ensu - Strauss was worried that his score for Der ing decades. The Rosenkavalier Suite played Rosenkavalier , brimful as it is with com - here was made by an unidentified arranger plex motivic interconnections (much in in 1944. It is widely held to be (at least in the spirit of his symphonic poems), might large part) the work of the conductor Artur prove elusive to theatergoers. His libret - Rodz inski. Strauss approved this arrange - tist, Hugo von Hofmannsthal, offered ment ´and it was published in 1945 by the reassurance: “Its blending of the gro- firm of Boosey and Hawkes. tesque with the lyrical will to a great extent correspond with your artistic indi - James M. Keller is program annotator of the viduality to produce something which will and the San Francisco be strong enough to keep its place in the Symphony. His book Chamber Music: A repertoire for many years, perhaps dec - Listener’s Guide , published in 2011 by ades. … Your fear lest the work should Oxford University Press, is also available prove too subtle gives me no anxiety. as an e-book and an Oxford paperback. The progress of the action is simple and intelligible enough for even the most Earlier versions of the Brahms and unsophisticated public; a fat, elderly, Strauss notes appeared in the programs self-satisfied suitor, favored by the lady’s of the New York Philharmonic and are father, supplanted by the handsome used with permission. Meet the Artists He began his career as an assistant con - ductor to at the New York Philharmonic, then returned to Holland where he was appointed assistant con - duc tor to at the Royal S M

E Concertgebouw Orchestra. In 1973 he L L I

W became chief conductor and artistic direc -

E S

S tor of the Rotterdam Philharmonic Orchestra. E

J Edo de Waart His awards for his musical achievements Edo de Waart is music director of the New include becoming a knight in the Order of Zealand Symphony Orchestra and conduc - the Dutch Lion and an honorary officer in tor laureate of the Antwerp Symphony the General Division of the Order of Australia. Orchestra, Netherlands Radio Philharmonic He is also an honorary fellow of the Hong Orchestra, and Milwaukee Symphony Kong Academy for Performing Arts. Orchestra, having concluded his tenure at the latter as music director at the end of Juilliard Orchestra last season. He was previously music Juilliard’s largest and most visible student director of the , performing ensemble, the Juilliard Orchestra, , Hong Kong Philhar - is known for delivering polished and pas - monic, and Sydney Symphony Orchestra, and sionate performances of works spanning chief conductor of De Nederlandse Opera. the repertoire. Comprising more than 350 students in the bachelor’s and master’s This season he appears with the Netherlands degree programs, the orchestra appears Radio Philharmonic Orchestra, where he throughout the 2017–18 season in more conducts a program of Bernstein and than a dozen performances on the stages Brahms; returns to the Antwerp Symphony of Alice Tully Hall, Carnegie Hall, David Orchestra, which he joins for a German Geffen Hall, and Juilliard’s Peter Jay Sharp tour in May; and opens the season for the Theater. The season opened in August with San Diego Symphony with Jean-Yves a collaboration between Juilliard and Finland’s Thibaudet and returns for two more peri - Sibelius Academy members with concerts ods later in the season. He also conducts performed at the Music Centre in Helsinki, the Atlanta Symphony, Chicago Symphony Finland, and the Baltic Sea Festival in Orchestra, Los Angeles Phil harmonic, Stockholm. The same program with the NHK Symphony Orchestra, and Orchestre combined Sibelius Academy Symphony Symphonique de Montréal. Orchestra and Juilliard Orchestra opened the New York season on September 5. As an opera conductor, Mr. de Waart has conducted at the Bayreuth Festival, Covent The orchestra is a strong partner to Garden, Grand Théâtre de Genève, Paris’ Juilliard’s other divisions, appearing in Opéra Bastille, , and Metro - opera and dance productions. Under the politan Opera. As music director in Mil - musical leadership of Alan Gilbert, the waukee, Antwerp, and Hong Kong he has director of conducting and orchestral stud - often conducted semi-staged and concert ies, the Juilliard Orchestra welcomes an opera performances . He still continues this impressive roster of world-renowned guest mission with the Netherlands Radio Phil - conductors this season including Thomas harmonic Orchestra in the Concertgebouw Adès, Joseph Colaneri, Edo de Waart, Amsterdam matinee series. Chen Lin, David Robertson, Esa-Pekka Salonen, Speranza Scappucci, Gerard the opening of the People’s Republic of Schwarz, and Emmanuel Villaume, and China in 1987, returning two decades faculty members Jeffrey Milarsky and Mr. later, in 2008. Other ensembles under the Gilbert. The Juilliard Orchestra has toured Juilliard Orchestra umbrella include the across the U.S. and throughout Europe, conductorless Juilliard Chamber Orches - South America, and Asia, where it was tra, the Juilliard Wind Orchestra, and the the first Western conservatory ensemble new-music groups AXIOM and New allowed to visit and perform following Juilliard Ensemble.

Juilliard Orchestra Alan Gilbert , Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Edo de Waart , Guest Conductor

Violin Aekyung Kim Oboe Byungchan Lee, Frida Oliver Jonathan Gentry, Federico Montes, Concertmaster Alice Ping Principal Principal Sumire Hirotsuru, Sophia Sun Russell Hoffman, Maximilian Morel, Principal Second Chloé Thominet Principal Principal Zeynep Alpan Meagan Turner Bobby Nunes, Principal Peter Hoyle Jessie Chen Chieh I Yang Ewald Cheung English Horn Amelia Dietrich Cello Bobby Nunes Ricardo Pedrares Tal First Isabel Kwon, Principal Patiño, Principal Phoebe Gardner Iona Batchelder Stephen Whimple, Isabella Geis Chloe Hong Alec Manasse, Principal Principal Yujie He Sanae Kodaira Phillip Solomon, Mary Grace Johnson Noah Koh Principal Bass Trombone Chisa Kodaka Yifei Li Sunho Song, Principal Aaron Albert Abigél Králik Thapelo Masita Na Yoon Kim Jasmine Lin Anne Richardson Yi Hsin Cindy Lin Rachel Siu E-flat Clarinet David Freeman Wei Lu Minji Won Na Yoon Kim K.J. McDonald Timpani Manami Mizumoto Double Bass Benjamin Cornavaca, Carolyn Semes Paris Myers, Principal Phillip Solomon Principal Sophia Stoyanovich Yi Hsuan Annabel Chiu Marty Thenell, Principal Natsuko Takashima Harrison Dilthey David Yoon, Principal Jieming Tang Nicholas T. Kleinman Joey Lavarias, Principal Jacqueline Tso Dominic Law Blair Shepperd, Percussion Helenmarie Vassiliou Jack McGuire Principal Joseph Bricker, Chia Fu Kathy Weng Justin Smith Jonathan Gibbons Principal Christine Wu Reed Tucker Jake Darnell, Principal Manjie Yang Benjamin Cornavaca Brenden Zak Flute Jonathan Gibbons Taylor Hampton Yutong Zhang Giorgio Consolati, Marty Thenell Emma Zhuang Principal JiHyuk Park, Principal Eric Huckins, Principal Harp Viola Mei Stone, Principal William Loveless VI, Alethea Grant, Principal Yin-Ying Tseng, Principal Katy Wong, Principal Principal Piccolo Nathaniel Silberschlag, Barlybayeva Dariya JiHyuk Park Principal Piano/Celeste Hannah Burnett Mei Stone Jasmine Lavariega Christopher Reynolds Yuchun Cheng Avery Roth-Hawthorne Hannah Geisinger Orchestra Administration Alan Gilbert, Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Kate Northfield Lanich, of Orchestral and Ensemble Orchestra Librarian Orchestra Personnel Operations Michael McCoy, Orchestra Manager Matthew Wolford, Operations Librarian Deirdre DeStefano, Orchestra Manager Management Apprentice

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